Sydney
Skyline
"Is there real art in photography? It
depends upon the individual who uses the camera. His vision, imagination,
creative ability and his skill to use the camera lens and his technique in the
production of the finished print. If the worker is thus capable then indeed
will his photographic work bear the stamp of the artist".
Harold Cazneaux letter to Jack Cato, 12
March 1951
NLA MS 5416
Pictorial photograhy had spread
amongst a small group of Sydney photographers. Until the mid 1910s they had
been responding to a movement that dealt with an alien northern climate,
landscape and light. But now they began to seek a new direction that would
advance the art of pictorial photography within an Australian context. Cazneaux
recognised the problems of the early movement.
"Australia had not yet
clearly seen the real and true Australian sunlight - but there were a few
Australian workers who had seen the "light" and who were striving to establish
a real Australian school of thought and action".
Harold Cazneaux letter to Jack Cato
NLA MS 5416
As a result of these
deliberations, the Sydney Camera Circle "declaration" was drawn up and signed
on 28th November 1916. The small group of six photographers included
Cazneaux, Cecil Bostock, James Stening, W.S. White, Malcolm McKinnon and James
Paton. He later noted:
"
these
photographers pledged to work and to advance pictorial photography and to show
our own Australia in terms of sunlight rather than those of greyness and dismal
shadows".
Harold Cazneaux letter to Jack Cato
NLA MS 5416
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Waiting
for the Ferry aka McMahons Point Ferry, Lavender Bay
1909 Sydney. Gelatin silver photograph 23 x 25.6 (NLA Accession #
C25-14) nla.pic-an2346085 |
Darling
Harbour, Sydney no date. Bromoil 22.4 x 26.3 (NLA Accession
# C18-1) nla.pic-an2383841-2 |
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Before the
Race c. 1920 Sydney Harbour. Gelatin silver photograph 36.8
x 25 (NLA Accession # C18-3) nla.pic-an2383849 |
Departure aka When Liners Tear Themselves Away
28th February 1928 Sydney. Gelatin silver
photograph 31.5 x 35.5 (NLA Accession # C18-2) RMS Otranto at
Woolloomooloo, Sydney nla.pic-an2383846 |
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Sydney Skyline
pre 1931 from Darling Harbour. Bromoil
16.3 x 29.7 (NLA Accession # C25-4)
nla.pic-an2345942-2
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The Site
of the Harbour Bridge 1926 Sydney. Chloro-bromide 38 x 31.2
(NLA Accession # C13-1) nla.pic-an2381154-2 |
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Arch in
the Sky 1930 Sydney. Gelatin silver photograph x (NLA
Accession # C13-4) nla.pic-an2381164 |
Circular
Quay West aka Circular Quay West and the Harbour Bridge 1920
Sydney. Bromoil 38 x 31.2 (NLA Accession # C13-2) nla.pic-an2381157-2 |
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Harbour
Bridge, Moonlight c. 1930 Sydney. Gelatin silver photograph
(Kodura Etching Brown) 30.3 x 28.5 (NLA Accession # C13-5) nla.pic-an2381166-1 |
Wharfies,
Circular Quay, 1910 aka Sydney Waterfront 1910 Sydney.
Gelatin silver photograph 24.2 x 28.7 (NLA Accession # C24-9)
nla.pic-an2384423 |
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The
Ships Cat c. 1912 Sydney. Gelatin silver photograph
32.9 x 25.9 (NLA Accession # C15-4) nla.pic-an2381209 |
Balloon
Seller c. 1920 Sydney. Bromoil 28.6 x 20.2 (NLA Accession #
C24-3) nla.pic-an2384417 |
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Arch
of Steel c. 1930. Sydney. Gelatin silver photograph 33.2 x
25.4 (NLA Accession # C13-6) nla.pic-an2381168 |
Little Strangers aka Waifs aka Children of
the Waterfront pre 1916 Millers Point, Sydney.
Chloro-bromide 28.4 x 22.7 (NLA Accession # C16-5) nla.pic-an2383805
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